November 27th, 2017

America’s national wildlife refuges represent the enduring conservation values of all Americans. When Teddy Roosevelt set aside tiny Pelican Island in Florida as the nation’s first national wildlife refuge, he recognized that our wildlife heritage represented something far more valuable than simply sourcing bird feathers for the latest fashion trends.

Today, there are many federal policy and budget proposals under consideration in Congress that could severely harm our nation’s National Wildlife Refuge System.

In late July, the House passed legislation to build a road through congressionally designated wilderness in Izembek NWR in Alaska. If enacted into law, this would set a dangerous precedent for all national wildlife refuges and wilderness areas throughout the country. The House released its FY18 budget, which included instructions for the Natural Resources Committee to produce an additional $5 billion to offset budget cuts. We expect lawmakers to use this opportunity to try and open the Arctic Refuge to oil drilling, citing the potential to generate an additional $1.8 billion within the next 10 years. Santa Ana NWR, located in South Texas, may become ground zero for the construction of President Trump’s new border wall as the Department of Homeland Security seeks additional funding from Congress. We at the Refuge Association are monitoring these actions and are working closely with congressional leaders and partners to stop these proposals.

Clearly we need to support our refuges because of their incredible natural resource values, and it is imperative that our nation protects its investment in our national wildlife refuges. The impressive economic value of refuges is undeniable. Forty-eight million people visit national wildlife refuges every year generating $2.4 billion to local economies. More than 35,000 people are employed as a direct result of having a refuge nearby, resulting in almost $800 million in employment income.

Refuge Friends Groups
provide a 20 percent boost to the National Wildlife Refuge System workforce – the equivalent of 600+ full time employees and valued at $32 million per year.

Many refuge Friends call the experience the most meaningful in their lives. Their volunteer experience has not only deepened a commitment to the natural world, but also strengthened ties to their community. They will tell you that refuges are indispensible to wildlife and to our citizens.

Refuges always need new friends and supporters, now perhaps more than ever. We’re thankful for your continued support, and encourage you to get outside and experience your National Wildlife Refuge System.

Sincerely,

Geoffrey Haskett

ON THE REFUGE:

As the summer comes to a close at the end of this month, many of our summer volunteer interns are finishing up their internships on national wildlife refuges across the country. They’ve participated in a wide variety of activities on national wildlife refuges, from hosting education programs to working with endangered species. Our volunteer internship program, in partnership with the U.S. Fish and Wildlife Service, has proven to be an incredible experience for emerging wildlife and conservation professionals.

The Refuge Association also welcomed a summer Conservation Policy intern in the Association’s Washington, D.C. office. Through a program at Duke University funded by the generosity of Fred and Alice Stanback, Elliott Davis attended hearings, met with members of Congress and assisted our work on critical refuge policy issues. To learn more about Elliott’s experience,
click here.

Summer Volunteer Internships are Wrapping Up!

There is basically nothing to the song, really, but this was one of my favorites to play guitar to back in the early 80’s. It f*cking rocks, but a songster analysis would probably say it sucks in structure. Oh well. I like it. :
beerbang
:

Thanks everyone for all the pointers. Lately I’ve been trying to take a more deliberate, and deliberative, approach to songwriting and have been reading up on structures and so forth. Plus there is lots of commentary out there for the mixing process that uses this kind of terminology too (reading Mike Senior’s book at the moment, which has been the spark for this and many other ideas). Realized I didn’t know a lot of stuff that I thought I did… pretty common experience for me!!

Hey Patrick, I was just thinking about you this weekend, noticing you hadn’t been around for a while. Welcome back! And thanks for the comments

Yeah, I’m sorry if I hadn’t been around lately. Although I like the place (and people!), I’m trying to stay off the internet ATM and use the little time I have to do some music… You can hear one of my last attempts here:
Please Bash: It’s a Hurt

Think I remember this from an interview with Steve Cropper and Duck Dunn… But a middle 8 is usually based upon the chords of the verse or a simplified version thereof. And a bridge is usually built from differing but complimentary chords. So a middle 8 would be a place for solos and ad libs but no verse vocals and a bridge is meant to take you temporarily away from the original flow of the tune. I have no help from Steve and Duck on prechorus… But I think that anything that sets up the chorus can be considered a prechorus. Even if it’s just a build or shift in the verse leading into it… Have fun rich

This is a GREAT topic. Here is how I usually explain it. The pre chorus is a part that takes you from the verse into the chorus and happens more than once in the song. The lyrics may or may not repeat every time its played. A bridge typically only happens once in a song and if it has lyrics they are usually from a different perspective then the other lyrics in the song or lyrics support the story line from a different angle.

The “Middle 8”. I don’t like this term because it generally, as I understand it, means you have 8 bars or 8 chords (Which of course not all bridges have 8 bars or chords). It is a slang term for bridge that I hear mostly country and folk musicians use. Usually song writers.

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